Archive for Super Star Rajesh Khanna

Rajesh Khanna’s dinner was never over without Mithai & Paan

Posted in Uncategorized with tags on January 5, 2014 by manoharv2009

Bharati Dubey, TNN Jul 24, 2012, 02.10AM IST

MUMBAI: Rajesh Khanna always ended his dinner with a paan, which he would himself buy from his two favourite shops, either Mishra Paan Bhandar at Juhu or Paagal Paanwala on Turner Road.

The superstar’s friend for 11 years, Prakash Rohra, said, “He wanted paan after dinner and preferred to go and buy them himself. There were times when I would buy his paan from the Mishra shop in Juhu or we would drive to Turner Road where Paagal Paanwala is situated.”

Khanna’s usual was a Calcutta sada or sometimes, a magai paan. Manoj Yadav of Paagal Paanwala, where the actor would visit at least thrice a week at one point of time, said, “He stopped coming since last year. He usually came with friends in a red Zen and there used to be a lady with him. He would step out of the car and buy two paans, one he would eat there and the other he would get packed to take away. He would praise my paan.”

Like paan, Khanna had another favourite, without which his dinner would never be complete: sweets. Echoing Khanna’s co-actress Asha Parekh, Rohra said, “Khanna loved caramel custard and moong daal halwa. But he had stopped eating most sweets in the past year, he would have only the sugar-free ones. Once when I called him to say I was going to Allahabad, he asked me to bring back maathi (a sweet samosa) from there. I got specially made sugar-free samosas for him.”

His array of desserts was not restricted to the Indian varieties, ice creams occupying a top slot on his “cherish” list. He would often visit Natural Ice Creams on Hill Road. An attendant at the shop said the star liked the seasonal flavoured ones but Khanna’s alleged live-in partner, Anita Advani, maintained chocolate was his personal favourite. “We used to stand outside the shop and have ice creams,” she said.

And when it came to food, he would not stop at travelling all the way to Malshej Ghat near Pune, where he would Sushant Dhaba. “If we travelled to places like Shirdi, Kakaji liked to visit Sushant Dhaba for his food.” Another getaway that was popular with Khanna was Shangrila Resort in Kalyan. The resort marketing manager, Lenin Fernandes, said, “He liked staying in our Maharaja suite, which has a pool attached to it. He preferred staying indoors.” Rohra, who often booked the room for him, said, “When he would feel low and wanted to go out of the city, we would drive to this place and spend a couple of days there. We would drink and order a huge platter of both vegetarian and non-vegetarian food. But his day ended with a glass of cold milk. He would tell me, ‘Prakash, we drink, which causes acidity and milk is an antidote’.”

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Rajesh Khanna. Cloning. Confusion in Kazhak.

Posted in Super Star Rajesh Khanna with tags on December 29, 2013 by manoharv2009

Rajesh Khanna in Kati Patang (1970)Image

Little did I know till recently that it was  Aradhana (1969) that changed our lives – though we were born 2 years after.We joined school in 1982 and most of us were late 1970 – early 72 born. Aradhana was released in 1969, and was reportedly an instant hit of Shri Khanna, and he was the first superstar. In what could be termed Aradhana effect, there was 6 namesakes of Shri Khanna in our batch. It was as if some one ordered half a dozen of us.

Rajesh Bhanu, MH Rajesh, Rajesh R, Rajesh M Menon and  Rajesh R Nath were the initial five and just as we heaved a breath, in darts Rajesh Nair from Kapurthala on transfer in 8th standard. To add confusion to our lives as Rajeshs, the first three went to same selection centre in 1989. The second two went to same institution/service/squadron/arm/course and even commanded the same units and the first two were together in staff course that too in the same class. Life was indeed fun and it got exponentially confusing. If the Persian poet knew of this today-he would say if there was a confusion on earth-it is this( three times sir! )

One can narrate a series of confusions and comparisons that ensued and that plague us till date. They came in myriad forms! It took an interesting crescendo when conduct and character report of one was rendered to the other prospective -in laws when we were of a marriageable age. Imagine a ride on someone else’s  reputation for life – I bet it isn’t easy! We continue to get erroneously debited and credited on each others accounts, thanks to Shri Khanna.1982 also wasn’t exactly information age at Kazhakootam. We took a lot of time to gather how many Rajeshs actually existed. Quickly we grasped how many were in our House. Just as one thought that was final, came a surprise from another division or house at the other end of the campus.

Gunguna Rahe Hain from Aradhana(1969)

It was also a bit like science we now know . Just when we thought we accounted every Rajesh, like Mr Higg’s Boson, a new Rajesh was suddenly discovered. Some left the orbit gathering escape velocity. However always a floating populace of Rajeshs that remained in the batch. I still can’t put a figure on how many finally remained in the batch and graduated without facing wrath of an affected Rajesh-let.

The collective wisdom of the class quickly figured out a simple way to deal with such confusions. They just ignored the first name. In our entire duration at school none of us were ever, ever addressed as ‘Rajesh’. What a waste of a charming name! We were instead addressed only by surnames and initials. Not a great idea when the surname is your fathers name, you are with your father and a bunch of twelve-year olds go screaming your father’s name devoid of traditional niceties. One had a lot of explaining to do back home.

As a secondary effect, seeing the wave of Rajeshs, our beloved Housemaster, obviously the one with with the largest number of Rajeshs in his kitty, sensed the good karma in the name and followed suit. He promptly named his son Rajesh. Thus yet another Rajesh blossomed in the campus.The man was wise. This Rajesh-of- the- secondary- effect went to win several medals and a sword of honor in his service, graduated from the IIT and is today a star amongst the flock. The name indeed possessed the requisite charm.

I heaved a sigh of relief when some time back I encountered a Rajesh Khanna in-the-full. Was even more relieved later when I came across an Amitabh Bachhan, Saddam Hussein and Kanu Sanyal – all from gods own Kerala! I also learned from TV that there were even triplets named Proton, Electron and Neutron too. I liked art over science. My parents were indeed kind to me. Growing up in the intellectual Kerala of the 80′s, I was also a trifle embarrassed with the filmy origins of my name. An Adoor Gopalakrishnan, a Mani Kaul or a John Abraham (not the current one with that swagger, please !) would’ve been okay. Even a more serious actor such as Satyan would’ve passed muster. Men in floral prints, large collars and bell bottoms who ran around trees or rode Yezdis tied up on flatbed trucks on the Mumbai-Pune highway was a little infra dig to me then. At least that’s what I thought Shri Khanna and his ilk did. Probably, I may be wrong.

Yezdi Classic

The Yezdi Classic

Much later I also went through an intense emotional turmoil whilst writing my daughter’s name in the application for her birth certificate. The dilemma was whether to add my original surname which my father had ceremonially dumped or add ‘Rajesh’ as a surname to her name. Not adept to taking decisions quickly I added Rajesh as her surname with a caveat that I will pass the buck for her to choose some day. True to my word, I recently asked the teenager if that was okay her. Genes indeed skip a generation,she quipped that ‘Menon’ as a surname sounds quite out of fashion and she would stick to her birth certificate.So Rajesh- the -first-name just got promoted instantly as Rajesh- the- surname, thanks to my twelve year old! Even Shri Jatin Arora’s uncle responsible for his change of name wouldn’t ever have imagined such a deal.

The family that I belonged to usually reserved names like Achuthan Kutty or ventured as far as a fashionable ‘Padmanabhan‘ or ‘Unnikrishnanan‘ for boys. For years I kept wondering why I was chosen for that first etymological adventure in the family. That was the easier one to solve with a Hindi movie buff uncle squarely to blame. However the reason for the flood of name sakes in ‘that’ year at school got resolved only recently.The death of our illustrious ‘namesake’ reinforced what I had guessed- It was indeed ‘Aradhana’.

Recently I was asked if the name charmed girls of my time. I wish it did. The fact is that, by then late Shri Khanna was past the prime time of Bollywood and his movies were relegated to prime time Doordarshan. In the era of the Khans it simply couldn’t match up. So the name alone never worked in that department. One had to work hard and add value to the brand! One thing is certain. I knew very little of my namesake and he was indeed a superstar – so super that six children – 10% of our initial batch size were named after him! I observed a similar percentage in the subsequent course I did. 3 out of 30 who graduated from the academy bore that name – 10% again. Now take a minute and imagine the elevation from name to surname- you can see a geometric progression ahead. That’s the power of that stardom.

Roop Tera Mastana from Aradhana (1969)

Any one who was named ‘Rajesh’ before us was done so by a visionary and after us was a tad too late. We remain the ‘asli namesakes‘. The ones who took the tide right ! May Shri Jatin Arora’s soul rest in peace. Our sincere condolences to the family. His name would continue to live on for ever. I wish I saw more of his movies and learned more of him when he was alive.

RIP Kaka.


The Original Superstar : Rajesh Khanna

Posted in Uncategorized with tags on December 22, 2013 by manoharv2009

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The Original Superstar: Rajesh Khanna
Rachel Dwyer  July 21, 2012 | UPDATED 15:43 IST
Rajesh Khanna
Rajesh Khanna in Aradhana (1969)

Rajesh Khanna, India’s first superstar, was adored by his fans for decades, but has never been given any academic recognition. Although he was the major star of the early 1970s, he was so eclipsed by Amitabh Bachchan’s hip and brooding persona that his role in the film industry has been neglected.

Rajesh Khanna was not cool. He was the nice middle-class boy who really did look as though he lived next door. He was good-looking rather than classically handsome, always slightly awkward in his tight safari suits, his hair a little stiff. But when Rajesh Khanna tilted his head, smiled and winked directly to the camera, his charm was overwhelming and women swooned. These well-rehearsed gestures seemed private rather than part of the public, nice boy persona, and seemed to speak directly and intimately to his fans. The combination of ordinariness and innocence with this knowing charm, was absolutely lethal. Who else could have made the audience convinced it was perfectly normal to live happily ever after with two wives, as he did at the end of Daag (Director: Yash Chopra, 1973)?

His characters were usually middle- or upper-middle class, but he often lacked the support of his family and seemed hurt and lost, in need of mothering. His despair was often angry, sometimes expressed through drunkenness and wonderful songs like ‘Yeh jo mohabbat’ in Kati Patang (Director: Shakti Samanta, 1970). Rajesh Khanna had some of the best songs of all time picturised on him, especially those of R.D. Burman sung by Kishore Kumar. Yet one of his finest performances as an actor was in Ittefaq (Director: Yash Chopra, 1969), a rare songless film where he plays a suspected murderer on the loose.

Aradhana (Director: Shakti Samanta, 1969), his first big Hindi film, had Rajesh Khanna in a double role with Sharmila Tagore as the heroine. It had one of the sexiest songs in Hindi cinema, ‘Roop tera mastana’ where the ‘bhool’ was inevitable, the song and the camera building up the tension as the couple looked at each other with boundless desire.

In the same movie, they played mother and son when Rajesh Khanna came back with his second role in the film. The tensions during the making of this classic must have been noteworthy, as Tagore went off to work with her mentor Satyajit Ray, while her scenes in ‘Mere sapnon ki rani’ were shot on another occasion to Rajesh Khanna’s, though none of it shows in the finished product.



The actor in his best lines

Main marne se pehle marna nahin chahta. Safar, 1970

Babumoshai, hum toh rangmanch ki kathputliyan hain jiski dor uss uparwale ke haathon mein hai. Kab, kaun, kaise uthega ye koi nahin jaanta. Anand, 1971

Pushpa, mujhse ye aansu nahi dekhe jaate, I hate tears. Amar Prem, 1972

Kisi badi khushi ke intezaar mein hum yeh chhote chhote khushiyoon ke mauke kho detey hain. Bawarchi, 1972

Iss ek glass mein ek majdoor ki ek mahiney ki roti hai aur parivar ki saans. Kabhi socha hai ki iss ek glass ko peetay hi hum ek parivar ko bhooka maar dete hai. Namak Haraam, 1973

Insaan ko dil de, jism de, dimaage de, lekin yeh kambakhht pet mat de, jab pet deta hai, toh usse bhookh mat de… Roti, 1974

Anand (Director: Hrishikesh Muk-herjee, 1971), in which he plays a cancer patient, is more a celebration of life than death, with its great songs and its motto: ‘Zindagi badi honi chahiye, lambi nahin’ (Life should be big, not long). This was the first ever pairing of Rajesh Khanna and Amitabh Bach-chan, which was followed by Namak Haraam, another Hrishikesh Muk-herjee film that was released in 1973.

Amar Prem (Director: Shakti Samanta, 1972) was based on the Bengali story Nishipadma by Bibhuti-bhushan Bandyopadhyay, whose Pather Panchali was adapted by Satyajit Ray. A girl sold to a brothel by her family finds love and family , with those whose own family lives are unhappy. Along with the song ‘Chingari koi bhadke’, Rajesh Khanna’s line: ‘Pushpa, I hate tears’, before he cries himself, is one of its best moments.

In many of his greatest roles, Rajesh Khanna is more than a romantic hero, as the films often focus on love in the context of wider family relationships while raising issues such as illness, trade unionism, prostitution, insanity, animal welfare, etc. Perhaps it is part of the lack of a serious critical assessment of his work and a vague recollection of his eclipse by Amitabh Bachchan that he is remembered almost exclusively as a romantic hero. His songs are some of the most romantic in Hindi film history but need to be contextualised within his wider work.

I first recall coming across Rajesh Khanna in the Man Alive documentary made in 1973. Jack Pizzey, in this relatively early documentary on the Hindi film industry, wants to interview Rajesh Khanna. Endless deferrals are followed by meaningless interviews, then clips of the numerous retakes of ‘Suno kaho kaha suna’ from Aap Ki Kasam (Director: Kamal Bhatnagar, 1974). The gossip queen, Devyani Chaubal, tries to interpret Rajesh Khanna to the baffled Pizzey.

Then, suddenly, the wedding of Rajesh Khanna and Dimple Kapadia is announced and Pizzey is invited and allowed to film, transforming his documentary, which begins somewhat patronisingly, into a gem for screen fans.

I often walked past Rajesh Khanna’s bungalow Aashirwad on Carter Road in Bandra, noting that it looked quite neglected, and wondered about him and the nature of Hindi film stardom. I admire him and his family for their dignified silence about personal matters, though was glad to learn they all came together at the end.

Rajesh Khanna deserves critical assessment in the context of the late 1960s and early 1970s, especially with regard to the image of the non-metropolitan male and the creation of stardom. No one who writes about Hindi films can ignore him.

Just recently, I presented a paper at Stanford University which contained much about my favourite film of his, Haathi Mere Saathi (Director: M.A. Thirumugham, 1971). The film queries boundaries between humans and animals, as Rajesh Khanna is the only person who respects and understands the devotion and love of animals.

Raju and his elephants are touched by the divine, as Ganesh himself guides them, responds to them and finally the loyal Ramu is worshipped by the family. Rajesh Khanna plays a victim of human cruelty and mistrust wonderfully in this film, which is not really a children’s movie but one which continues to inspire government action for the endangered animal. Yet another part of the legacy of this superstar.

RIP Rajesh Khanna: Pyaar ki duniya mein, khush rehna mere yaar.

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Aurat – 1967

Posted in Uncategorized with tags on December 18, 2013 by manoharv2009

Author Archives: padminifan
Aurat (1967)
November 4, 2012

Aurat is the remake of the successful tamil film Chitti (1966), played by Padmini. It was a female oriented film and the central character was played by Padmini, along with Pran, Rajesh khanna, Nazeema, Firoz Khan and Lalitha Pawar
The film tells about the suffering of a woman, Parvathi (Padmini) who was in charge of caring her mother and 7 siblings. She is the only earner of the house having 9 members. She wants her brother Suresh (Rajesh Khanna) to be a doctor. She also dreams of getting her mute sister (Revathi) married.

Parvathi was in love with a man (Firoz Khan). She agreed to marry him only after her brother’s studies were over.

Manoharilal (Pran), a widower and a rich man has 6 children and two siblings. He is a womanizer and he wants to marry a young lady, not for caring him and his family, but only for physical relationship. He is now in search for a woman and he arranges a broker for this purpose. The lady whom he wants to marry should have the following features:

“Her face should be as beautiful as Saira Banu,

From neck to hip, her figure should be like Helen,

Hip and walks like Vyjayanthimala

In Total effect she should be like PADMINI.”

Suresh is studying his final year. He needs to remit his fees. Parvathi seeked help from many people including her lover, but no one could help her.

While she returns home, she heard conversation between her brother and a marriage broker speaking about Manoharilal’s proposal to Parvathi. Even though the man is rich, Suresh and mother did not accept the proposal. But Parvathi agreed the proposal and asked the broker to bring him to a temple nearby on next day evening 5 pm. Suresh became very sad and told, “I know why you are marrying that old man. It is for us, for my studies, right? But there are many ways to get money to remit my fee. Sister you please stay back from the proposal. After I become a doctor, I will care my siblings”. But Parvathi don’t agree. She was worried that after he becomes a doctor and marries a girl, he could not care his siblings. But he promised that he will not marry or even fall in love till his siblings were all married.


Padmini and Rajesh Khanna

However Parvathi sacrificed her life and love. Next day she met Manoharilal at temple and made a condition that he should take care of her family and Suresh till he becomes a doctor. He promised to do so and thus Parvathi agreed to marry him.

When Manoharilal’s family heard the news, they were all worried and they were afraid about step mother’s war. Parvathi along with her brother relocated to Manoharilal’s house. Initially the family did not liked her, But later on when they came to know about Parvathi’s character, she was well accepted and became the part of the family. Now she is a caring mother all children of Manoharilal and a loving daughter in law for his mother (Lalitha Pawar).

Days passed, Love blossomed between Suresh and Asha (Nazeema), sister of Manoharilal. When Manoharilal comes to know about their relation, he threw Suresh from his house and stops the financial aid he provided to Parvathi’s family and Suresh’s education.

Suresh started working with brother of Manoharilal, who hates him, to earn money for his studies. Later on he gets financial support from Parvathi’s ex-lover who is now a rich man. It was Asha who managed to go to his hotel to buy money for her lover’s studies. People thought Asha as a prostitute, who earns money through dirty way as she frequently visits hotel and returns with hand full of money.


Pran and Padmini

Manoharilal arranges marriage for Asha. Bride groom visits her; He was shocked as he saw this girl in the hotel who makes money through dirty work. Immediately he told her family that she is a dirty girl. This shocks Parvathi. She beats Asha. But later she comes to know that Asha went hotel for borrowing money from Firoz Khan for Suresh. Suresh passed the final exam. Manoharilal realizes his mistake and gives Asha’s hand to Suresh. Parvathi was given a surprise by Firoz Khan as he married the mute sister. Everything ended successfully. Parvathi’s dream came true. She is now very happy.
One of the main attraction of the film is “dancing queen padmini learns to dance”.
Film was directed by S S Vasan and S S Balan. There were 4 songs in the film penned by Shakeel Badayuni and music by Ravi.

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Late Super Star Rajesh Khanna Honored With Life Time Achievement Award At 5th GFFN

Posted in Super Star Rajesh Khanna with tags on December 9, 2013 by manoharv2009


Late Rajesh Khanna Honored

“Rajesh Khanna appeared in a total of 180 films – 163 feature films and 17 short films He won three Filmfare Best Actor Awards and was nominated for the same fourteen times. He received the most BFJA Awards for Best Actor (Hindi) – four times and nominated 25 times informed Sandeep Marwah President GFFN.

In 1991, Rajesh Khanna was awarded the Filmfare Special Award for completing 25 years in the industry, appearing in a record 101 films as the single lead hero in a span of 25 years. In 2005, he was awarded the Filmfare Lifetime Achievement Award

Rajesh Khannas made his debut in 1966 with Aakhri Khat and rose to prominence with his performances in films like Raaz, Baharon Ke Sapne Ittefaq and Aradhana He had 35 Golden Jubilee Hits.

Ashok Tyagi a friend to Rajesh Khanna and Director of his last film RIYASAT accepted the honor from Former Chief Election Commissioner of India G.V.G. Krishanmurthy at 5th Global Film Festival Noida to be delivered to the family at Mumbai.

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Achcha toh hum chalte hain…Super Star Rajesh Khanna

Posted in Uncategorized with tags on August 4, 2013 by manoharv2009


He made heads turn, but not of the moneybag producers, when he hung out on the pavement outside Churchgate’s once-trendy Gaylord restaurant. Girls would hang out from the balconies in the adjoining buildings to chat with the wannabe actor, but the movie merchants would say under their breath, “Hurry… or he’ll start pestering us again.”

Of medium-height at most, ruddy complexioned, eyes which crinkled at the hint of a smile, Rajesh Khanna aka Kaka possessed just about the bare minimum qualities associated with a Bollywood star back in the 1960s. He belonged to the north, as they used to say then, spoke Hindi fluently, displayed attitude and the Churchgate college girls would swoon that from certain angles he looked like Alain Delon. Music composers Shankar-Jaikishan, regulars at the Gaylord, didn’t ever think he was worth sharing a cup of the restaurant’s famous cinnamon coffee. No matter. Khanna would smoke his 555 cigarettes right till the end of the butts. His body language, resting on the cars parked there, shrugged, “Hey guys, not to worry. My day will come.”
It did and how! In my waking memory I haven’t seen an actor who commanded the hysterical fan following which he did. “Rajesh Khanna worship” was intense even if it did not have the sort of longevity which Bollywood’s first superstar could have commanded. First? Simply because the word hadn’t been coined earlier, and Khanna’s tsunami-like popularity had to be experienced to be believed. His appeal cut through generations, from the campus set to grand pops and grannies.
The Gaylord gadabout’s story was something of a Bollywood fantasy script. At long last, he had been selected as one of the eight finalists of a magazine’s talent contest in 1965. His first batch of films ranged from the whodunit Raaz (which also introduced Babita), Aakhri Khat (a black-and-white film in which the focus was more on a lost little boy), Aurat (a potboiler
from Chennai) and Baharon Ke Sapne (glam director Nasir Husain’s attempt to go realistic in vain).
Rajesh Khanna was a loser. Till Aradhana (1969) altered his life absolutely. Followed a series of major hits — Do Raaste, Bandhan, Anand, Namak Haraam and Amar Prem. He could do no wrong. Even the unconventional Ittefaq, with a minimal number of characters, was a winner, leading to his long-time association with Yash Chopra. In fact, today’s reigning film production banner Yash Raj is believed to have been a combo of the names of the director’s and Raj-esh.
The first unquestionably “wow” performance was that of the eponymous Anand, the terminally ill young man (partially inspired by Akira Kurosawa’s Ikiru). His death scene, with “Babu moshai”, Amitabh Bachchan, by his bedside is one of the most movingly written and acted scenes in Hindi cinema. It seems the two sparred over who should “die” in Namak Haraam. Rajesh Khanna did, after all he was a more powerful star then. Oddly enough, Rajesh Khanna excelled in death scenes, the other examples being Safar and Khamoshi.
Kaka’s private life was fodder for endless gossip. Anju Mahendru, his long-time girlfriend, was suddenly out with his overnight marriage to Dimple Kapadia, still in her teens. The actor, however, wasn’t making new friends, losing many of them it is said because of his mood swings and arrogance. Shakti Samanta and he parted ways. Yash Chopra moved on to the next big super-actor freshly arrived on the scene, Amitabh Bachchan. Anger was in, romance was out.
Once in Guddi, Dharmendra had said wistfully to Jaya Bhaduri, “Everyone wants Rajesh Khanna… so why me?” As it happened, the superstardom passed on to Guddi’s real-life husband Amitabh Bachchan who was just what Rajesh Khanna wasn’t: tall, swarthy and possessed of a baritone voice.
I met Rajesh Khanna on the sets of Dhanwan, when he was just about doing okay in the showdom. A rookie reporter, told about his mood swings, I wasn’t disappointed. Before I could ask the first question, he played a drum beat on the table between us. It could have been for two minutes but felt like 20. A year later I saw his other side: super-affable and chatty. “As long as you don’t ask about my early days, I’m fine,” he grinned, ordering a virtual bakery of cakes to go with a cup of tea.
Whenever I asked Dimple Kapadia about him, she didn’t have a harsh word to say about their collapsed marriage. “He’s an incredibly nice guy,” she has said repeatedly. “I was just too young to get married. And maybe it was my fault that we couldn’t make it work.”
The last time I met Kaka was on a Mumbai-Delhi air flight. We made polite conversation. He said, “I hope you didn’t review my last film (Wafaa),” and laughed. “We must meet up but promise me we won’t go into those good or bad old days. Jo ho gaya so ho gaya.”

The writer is a journalist, film critic and film director


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Shri Nalin Shah Seen With Late Super Star Rajesh Khanna and Shri Vinod Mehra

Posted in Super Star Rajesh Khanna with tags on August 4, 2013 by manoharv2009


Shah Group is the result of the efforts, hard work and vision of Shri Nalin Shah who has shaped the company and taken it to its present form.

Seeing the stupendous outcome, Mr. Nalin Shah’s name and fame scaled great heights. Numerous celebrities, politicians and social workers felt it a matter of pride to be associated with this great visionary. Mr. Shah also felt that this interaction would help him to fulfill his social obligations and help him to do his bit for the lesser privileged.

Some of the well known faces from the film industry were close associates of Mr. Shah during his hay days. Two such names are the Late Rajesh Khanna a.k.a. the Kaka of Bollywood and Vinod Mehra the reticent and shy star who was known for his dynamism. It was a memorable moment when these talented stars of the world met each other.

Mr. Nalin Shah with Late Rajesh Khanna and Shir Vinod Mehra

“Mr. Nalin Shah with Late Rajesh Khanna and Shir Vinod Mehra”

These and many similar eminent names have been proud to be associated with Mr. Nalin Shah.


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